Grau d’Estudis Anglesos Treball de Fi de Grau Curs 2017-2018 Ethics and Spectatorship in debbie tucker green’s stoning mary (2005) and Caryl Churchill’s Seven Jewish Children (2009) Autor: Claudia Maya Prats Tutor: Dr. Enric Monforte Rabascall Barcelona, 18 de juny 2018 ABSTRACT This work considers how theatre works with spectators in order to create an ethical response, taking as case studies debbie tucker green’s stoning mary (2005) and Caryl Churchills’ Seven Jewish Children: A Play for Gaza (2009), drawing on Levinas’s notion of the Other and Butler’s rereading of it, which serve as a tool to examine how both plays pose ethical questions on the audience. The paper also uses Lehmann’s notion of ‘response-ability’ and Rancière’s ‘emancipated spectator’ as theoretical lenses for spectatorship, so as to examine the role of the audience and their ability to respond to the suffering bodies on stage that are normally silenced by the media. In stoning mary, through the staging of human suffering embodied by a white casting tucker green makes visible issues that are not normally considered and explores the audience’s ability to respond to such suffering. In Seven Jewish Children, Churchill allows its audience to perceive different bodies suffering throughout history so as to invite them to reconsider the lack of responsibility that only leads to an ongoing precariousness. Keywords: ethics, spectatorship, debbie tucker green, Caryl Churchill RESUM Aquest treball considera com el teatre, juntament amb els espectadors, pot arribar a crear una resposta ètica, prenent com a cas d’estudi l’obra stoning mary de debbie tucker green (2005) i Seven Jewish Children: A Play for Gaza (2009) de Caryl Churchill, fent servir la noció de l'altre de Levinas i la relectura de Butler com a eina per examinar com ambdues obres presenten qüestions ètiques als espectadors. L’estudi també considera la teoria de Lehmann de la ‘responsabilitat’ de l’espectador i la teoria de ‘l’espectador emancipat’ de Rancière per tal d'examinar el paper del públic i la seva capacitat de respondre als cossos precaris de l'escenari, els quals són generalment silenciats als mitjans de comunicació. A stoning mary, tucker green explora la capacitat de respondre dels espectadors a través d’un càsting blanc per tal de fer més visibles els problemes que normalment no són considerats. A Seven Jewish Children, Churchill exposa el patiment de diferents cossos durant la història a fi de convidar al públic a reconsiderar la manca de responsabilitat que només condueix a una continuïtat de la precarietat. Paraules clau: ètica, funció de l’espectador, debbie tucker green, Caryl Churchill TABLE OF CONTENTS 1. INTRODUCTION…………………………………………………………….………1 2. ETHICS……………………………………….………………………………………2 2.1. The Levinasian Other………………………………………………………..3 2.2. Judith Butler reconsiders Emmanuel Levinas………………..………………4 3. SPECTATORSHIP……………………………………………………………………6 3.1. Emancipating the Spectator and the Distribution of the Sensible…………….7 3.2. Postdramatic Theatre and the Audience’s Response-ability……………..….9 4. DEBBIE TUCKER GREEN’S STONING MARY (2005)…….………………………11 4.1. Introducing stoning mary…..………………………………………………11 4.2. Ethical relations in stoning mary…………………………………………..12 4.3. The Role of the Audience………………………………………………..…16 5. CARYL CHURCHILL’S SEVEN JEWISH CHILDREN: A PLAY FOR GAZA (2009)…………………………………………………………………………………..20 5.1. Introducing Seven Jewish Children……………………………………...…20 5.2. Vulnerability and the Other in Seven Jewish Children……………………..21 5.3. The Audience of Seven Jewish Children……………………………………24 6. CONCLUSIONS…………………………………………………………………….28 7. WORKS CITED………………………………………………………………..……30 1. INTRODUCTION A very expensive hotel room in Leeds – the kind that is so expensive it could be anywhere in the world. (Sarah Kane, Blasted) The hotel has been blasted by a mortar bomb. (Sarah Kane, Blasted) Sarah Kane published Blasted in 1995, a play which caused much heated controversy among audiences. Blasted presents its action in a hotel in Leeds but in the middle of the play, the stage directions state that a bomb blasts the hotel room. Consequently, it is by placing an explosion in a European hotel, which is something that we normally associate with wars that do not normally occur in Western countries, that audiences are made to consider what they have witnessed on stage, since Kane believed that it is “the audience alone who must take responsibility for what the play offers them” (Saunders 27). It was upon reading Kane’s Blasted that I first felt most engaged with a play as a spectator, or in this case, a reader. Therefore, this was probably the starting point for being interested in spectatorship and how the audience can play a role in creating a meaning in the theatre space as well as in how ethics is involved with drama. This dissertation discusses how the audience participates in theatre making and how ethics and drama are connected in order to allow the spectators to respond to realities or issues that may be unknown to them. The plays analysed are debbie tucker green’s stoning mary (2005) and Caryl Churchill’s Seven Jewish Children: A Play for Gaza (2009) two contemporary plays with Postdramatic characteristics that present different Others and their vulnerability so as to raise awareness among spectators and hopefully obtain an ethical response. Thus, what these two plays feature, as Taylor-Batty argues, is “a concern to explore human experience through a focus on the vulnerabilities of the body” (61) which is something that became “central motif in much 1990s theatre and performance” (Taylor-Batty 61) but continued to do so in the 2000s. Moreover, both plays not only try to raise awareness but at the same time they also denounce the lack of responsibility in Western societies, who under the influence of neoliberalism, reinforce notions such as “precarity, the precariat, and precariousness” (Shim 215). Thus, in order to analyse stoning mary and Seven Jewish Children, the relationship between theatre and ethics as well as the spectator’s engagement in the creation of ethics has to be considered. The main theoretical framework employed to discuss the relationship between theatre studies and ethics is Emmanuel Levinas’s notion of the Other, a being that one must bear responsibility to in order to fulfil a favourable ethical 1 relationship. Moreover, Judith Butler’s rereading of Levinas’s theory, where she further examines his notion of the Other and explores the different representational approaches of its vulnerability. In the case of theories on spectatorship, this paper makes use of Jacques Rancière’s notion of the ‘emancipated spectator’, according to which audiences are regarded as active and thus capable of responding to any ethical demand and notice what plays are trying to bring attention to, since Rancière believes that the theatre can disrupt the ‘distribution of the sensible’, which are the conventions that decide what can be said or seen. Furthermore, the paper draws on Hans-Thies Lehmann discussion on how Postdramatic theatre infers the audience’s ability to respond to the issues that are being staged, which he denominates ‘response-ability’. 2. ETHICS Literature studies experienced an ‘ethical turn’ in the 1980s but it was not until the late 2000s, with the publication of books such as Nicholas Ridout’s Theatre & Ethics (2009) and Helena Grehan’s Performance, Ethics and Spectatorship in a Global Age (2009) among others, that theatre started to be regarded as a place for ethics (Aragay 3). Throughout the twentieth century the word ‘ethics’ “had been absent from intellectual discussion” (Critchley 2) but after the Nazi genocide, the world experienced a “reorientation of ethics” (Ridout 49). In fact, after the Holocaust, humanity thought that instead of progress, what the world was witnessing were acts of depravity which led many thinkers and artists into thinking that this event had been due to the processes of enlightenment and modernisation, which were thought to bring peace to a liberated humanity but instead made the world fall into destruction (Ridout 50). In The Dialectic of Enlightenment (1947) Theodor Adorno and Max Horkheimer define the enlightenment as “the advance of thought, which has always aimed at liberating human beings from fear and installing them as masters” (1). In Theatre & Ethics (2009) Nicholas Ridout explains what these two thinkers discuss in The Dialectic of Enlightenment about the aftermath of the enlightenment practices, where they argue how through “the development of technologies, the organisation of people and the exploitation of human and natural resources in the name of progress and prosperity, Western humanity turned its own rationality into an irrational drive to power” in an attempt to secure the domination of the world (Ridout 50). However, this development of technologies led to inhuman processes of mechanisation in the shape of factories of death that served as a 2 tool for the National Socialist government of Germany to mass murder the European Jews (Ridout 51). Thus, after the experience of the Holocaust, Europe felt the need to replace the enlightenment ideas and rethink the concept of ethics in the West, which is what the work of the thinker Emmanuel Levinas consisted of, and which would later be regarded in relation to theatre studies. 2.1 The Levinasian Other Emmanuel Levinas, the French philosopher of Jewish ancestry, reintroduced the concept of ethics in the West through a reconfiguration on how the Holocaust could have happened, meaning that his “work contributed substantially to the re-evaluation of enlightenment modernity” (Ridout 51). Throughout his career, Levinas’s work was based on the rethinking of “those relationships (between self and world) in terms radically different from those we have seen initiated by Aristotle and continued through the traditions of ‘Western philosophy’ by philosophers such as Kant” (Ridout 51). In ‘Ethics as First Philosophy’ (1984), as Ridout best summarises, Levinas replaced a philosophical emphasis on ‘being’ with a dedication to an ethics based on the existence of the ‘other’ (52).